Yuval Sharon

Opera Producer/Stage Director

Biography

“LA’s avant-garde opera darling” (Hollywood Reporter) Yuval Sharon has been creating an unconventional body of work exploring the interdisciplinary potential of opera. His productions have been described as “thrilling” (New York Times), “virtuosic” (Opernwelt), “dizzyingly spectacular” (New York Magazine), “ingenious” (San Francisco Chronicle) and “staggering” (Opera News). He is the recipient of the 2014 Götz Friedrich Prize in Germany for his acclaimed production of John Adams’ Doctor Atomic, originally produced at the Staatstheater Karlsruhe. Yuval founded and serves as Artistic Director of The Industry, an experimental opera company in Los Angeles, where his inaugural production of Anne LeBaron’s hyperopera Crescent City was praised by the Los Angeles Times as “groundbreaking” and “reshaping LA opera.” His second production with The Industry, Christopher Cerrone’s Invisible Cities, took place among the everyday life of Union Station, with audiences hearing the live performance on wireless headphones.  The production, a finalist for the 2014 Pulitzer Prize in Music and hailed as “the opera of the future” by Wired Magazine, was a runaway success, with 9 performances added by popular demand and an international tour currently in development. Yuval also directed a landmark production of John Cage’s Song Books at the San Francisco Symphony and Carnegie Hall with Joan La Barbara, Meredith Monk, and Jessye Norman. Yuval was Project Director for four years of New York City Opera’s VOX, an annual workshop of new American opera, which became the most important crucible for new opera in the country under his direction. He was assistant director to Achim Freyer on the Los Angeles Ring Cycle and Associate Director of the world premiere of Stockhausen’s Mittwoch aus Licht with Graham Vick for the London 2012 Cultural Olympics. Upcoming projects include Henze’s English Cat for the Vienna Staatsoper, Die Walküre for Staatstheater Karlsruhe, and the world premiere of Hopscotch for The Industry, an opera happening in 18 car journeys throughout Los Angeles.

Reviews

“American director Yuval Sharon finds an independent and exciting path into the work. He draws on all registers of stage art in the age of film and the internet and creates something like a fourth dimension of theatrical performance. Glorious, almost baroque musical theater combined with the aesthetics of modern, witty comic strips: a stroke of genius.”

Badische Zeitung

“An ingenious take on Vixen. The affecting production directed by Yuval Sharon takes a distinctly different approach to an opera that was, after all, inspired by a novel based on a comic strip that had been serialized in a Czech newspaper. Cutouts in the screens let the cartoon animals take the heads of human singers, but only at certain moments. The juxtaposition of man and animal, reality and projection, is unstable and uncertain. While the human characters exist within an animated world, they also stand apart from it — at least before a moment of assimilation at the end that thrillingly captures the opera’s vision of nature as a cycle of death, rebirth and constant transformation.”

Zachary Wolfe

The New York Times

More Reviews

“A multimedia production that gave stellar new meaning to the term ‘concept opera.’ Nothing can adequately describe the effect of the concept, all held together by Sharon’s inspired stage direction. The capacity audience gave the production an immediate well-deserved standing ovation. Bravos were numerous — as were a few expressions of ‘Wow.’”

Alan Montgomery; Opera News 

“Beguiling in concept and brilliant in execution. In Yuval Sharon’s cunningly novel production, the visuals were expressive, entertaining, and often wryly funny. The end of the opera was poignant and affecting, and the capacity audience responded to Vixen with whoops and bravos.”

Daniel Hathaway; Classical Voice 

“[Doctor Atomicis] A triumph. A brilliant collaboration of direction, film, stage and costume. The tension and suspense of the Countdown is not only acoustically elaborated, but also scenically extended.”

Opernwelt